Mahler: Symphony No.4
Anna Lucia Richter (soprano)
Jakub Hrůša / Bamberg Symphony (Accentus)
(scroll down for English review)
這個錄音不算非常特別，我以下舉出的特點，其實也不算十分顯著，多數不會衝擊你聽慣的馬勒四，不過我既然投資了一小時去聽，有些微的得着也好的。
此演奏是把第一及第二小提琴分置左右，雖然這不是Hrůša獨家，但大家不妨留意第一樂章之中，第一及第二小提琴並不只是將旋律拋來拋去，更是用分置左右來造出陰陽效果，這是小提琴全放左面的演奏較難做到。此外Hrůša頗明確區分此樂章閒適及緊張（甚至有點危機感）的不同情緒。
現在的指揮慣常把第三樂章奏得很慢，廿幾分鐘是家常便飯，這個演奏只是20分鐘多一點。Hrůša開頭的速度中庸，我覺得「天國之門」高潮奏得一般，不過Hrůša在高潮前及後的凝重或時間靜止，比許多奏得慢的指揮更動人。第四樂章我又不會強求女高音要唱得像小童，最緊要她唱得好，我寧願要Anna Lucia Richter這種唱慣神劇及古樂的女高音，也不想要整色整水扮可愛的人去亂唱。
Not really an exceptional recording but it wasn’t entirely a waste of time on my part. This performance was played with antiphonal violins, though this is hardly the only one to do so but Hrůša managed to present the antiphonal effects as yin and yang. On top of that Hrůša emphasized the contrast between the nonchalant and the tense (even menacing at times) sections.
Conductors nowadays like to take the third movement real slow, Hrůša took just a little more than 20 minutes. His “heaven’s gate” wasn’t really glorious but the moments before and after are movingly played and you don’t usually get that in the ultra-slow recordings.
I don’t think it make sense to look for a child-like soprano for the fourth movement. Just give me someone who sings well. I think Anna Lucia Richter, who did much work in sacred or baroque repertory, did a fine job.